The Polish photographer’s new series, “Mama,” has an unsettling, if sometimes comic, premise. She appears as a lifelike silicon replica, truncated below the waist—a creepy doll for her young daughter to play with. One group of images is elegantly spotlighted on the gray walls; another is displayed in a bound album. The little girl discovers her clone mother in a black garbage bag under a flowering tree; she transports the doll in a wheelbarrow; she applies red paint to the doll’s face, evoking Cindy Sherman’s and Laurie Simmons’s uses of surrogates but also the self-splintering, even-self-obliterating, quality of motherhood itself. Grzeszykowska may be in charge behind the camera, but she’s also a hostage to her offspring.